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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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In this paper I tried to rethink the meaning of a Buddhist priest and his madang in Yangjubyulsandae play. So I attempted accurately to grasp the reality that its play was in existence, and to understand the meaning by making a comparison between the reality and festivalized reality.
First, the conduct of Buddhist priests is expressed as the course of deviation that their conduct breaks themselves of a buddhist role as well as even vulgar people should not behave so.
Second, they are identified as unavoidable wanderers by the compulsion of dynasty. This aspect is to reflect a Buddhist reality of the Chos?n dynasty. We can understand that the cast of its play was on the base of the social context of the Chos?n dynasty. In its paly Buddhist priests, as religious men, do the reverse of what people expect them to do in reality, their reverse behaviors are combined with the negative spirit peculiar to festival, and they give themselves to embody the festivity of mask play.
The conflict between Buddhist priests in play ends in the winning of secular ability. Their Internal conflict gets more secular priests to win others, and they continue to go secular. The external conflict is expressed between Buddhist priests. More secular priests win the game. That is to say, they become festive men who pursue the freedom of the depressed instinct.
Fourth, A priest episode is the process of the initiation ceremony to be a festive man. Especially, In Nojang-madang, he is separated from the sacred and religious world, enters into the secular world, is separated from the cultural constraint which represses the human nature and the situation of anti-festival, and finally is integrated with a festival world and a fantastic pleasure.
Fifth, the ordinary force intervened in priest-madang is expressed by the disciplinary agents who speak on behalf of the ruling class. Although priests in Chos?n society had apostatized by the dynasty and its ruling ideology, the ruling group condemned them for their apostatization.
Sixth, in priest-madang, there are reflected the denial of culture and the affirmation of a festival life. Beyond the sarcasm of a depraved priest and the criticism of ideological falsehood as well as the affirmation of folkloristic realism, there are the denial of a culture that restrains folk from their nature, and the affirmation of a festival life that shall make them not be prevented from enjoying any of the fundamental human nature or pleasure.
First, the conduct of Buddhist priests is expressed as the course of deviation that their conduct breaks themselves of a buddhist role as well as even vulgar people should not behave so.
Second, they are identified as unavoidable wanderers by the compulsion of dynasty. This aspect is to reflect a Buddhist reality of the Chos?n dynasty. We can understand that the cast of its play was on the base of the social context of the Chos?n dynasty. In its paly Buddhist priests, as religious men, do the reverse of what people expect them to do in reality, their reverse behaviors are combined with the negative spirit peculiar to festival, and they give themselves to embody the festivity of mask play.
The conflict between Buddhist priests in play ends in the winning of secular ability. Their Internal conflict gets more secular priests to win others, and they continue to go secular. The external conflict is expressed between Buddhist priests. More secular priests win the game. That is to say, they become festive men who pursue the freedom of the depressed instinct.
Fourth, A priest episode is the process of the initiation ceremony to be a festive man. Especially, In Nojang-madang, he is separated from the sacred and religious world, enters into the secular world, is separated from the cultural constraint which represses the human nature and the situation of anti-festival, and finally is integrated with a festival world and a fantastic pleasure.
Fifth, the ordinary force intervened in priest-madang is expressed by the disciplinary agents who speak on behalf of the ruling class. Although priests in Chos?n society had apostatized by the dynasty and its ruling ideology, the ruling group condemned them for their apostatization.
Sixth, in priest-madang, there are reflected the denial of culture and the affirmation of a festival life. Beyond the sarcasm of a depraved priest and the criticism of ideological falsehood as well as the affirmation of folkloristic realism, there are the denial of a culture that restrains folk from their nature, and the affirmation of a festival life that shall make them not be prevented from enjoying any of the fundamental human nature or pleasure.
목차
Ⅰ. 관점
Ⅱ. 중의 행적 : 일탈의 노정
Ⅲ. 중의 정체 : 국가의 강제와 불가피한 유랑
Ⅳ. 중들의 갈등 : 세속적 능력의 승리
Ⅴ. 중의 진화 : 생활인과 축제인이 되기 위한 입사식의 과정
Ⅵ. 중마당에 개입한 일상의 입김 : 지배층의 시각을 대변하는 징계자들
Ⅶ. 중마당에 숨은 뜻 : 문화에 대한 부정과 축제적 삶에 대한 긍정
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